×
You will be redirected back to your article in seconds

Pre-Visualization, VFX Experts Create Surreal World for Marvel’s ‘Doctor Strange’

Doctor Stephen Strange, a Marvel Comics character conceived in the ’60s, is the latest hero to step into Marvel’s cinematic universe. Played by Benedict Cumberbatch in “Doctor Strange,” he’s a talented neurosurgeon whose career is in ruins after his hands get mangled in a car crash. Seeking a remedy, he travels to the Himalayan community of Kamar-Taj, home to wizards and magicians. There, he meets the Ancient One (Tilda Swinton), a healer who teaches him the mystic arts and paths to alternative dimensions, which Strange decides to use to battle the forces of evil. To create the rich visuals of the film, director Scott Derrickson looked at photographs, films, and paintings, as well as the original work of comic-book artist Steve Ditko, a creator of Spider-Man as well as Dr. Strange.

During pre-production, Derrickson worked closely with production designer Charles Wood and visual-effects supervisor Stephane Ceretti to conceptualize the magic — not just on a mythic level, but on a scientific one as well — and the varied worlds Strange would travel.

Through concept art and storyboarding, they quickly realized that simply illustrating the film’s dynamic environments before shooting would not be an adequate enough road map, and that they would have to rely on pre-visualization software (pre-vis) to shape sequences in detail. “We were doing a lot of research and development,” says Ceretti. “Scott would take the pre-vis back to writers so they could incorporate [those elements] into the script. It became a kind of dynamic feedback between the storytelling and visual storytelling.”

A big challenge was finding the right balance between narrative and visuals.

“Pretty much anything can be done with visual effects if you have enough time and money, but not everything should be done,” says Ceretti. “We didn’t want to lose track of the story, so we only used effects that pushed things forward.”

Pre-visualization also became indispensable when working with the actors. Cumberbatch and the rest of the cast would look at concepts regularly to help deliver performances as the tale navigated from one reality to another — and into worlds of two, three, and four dimensions. →

In one sequence, Strange is pushed out of his body and transported onto the astral plane, passing by a kaleidoscope of colors and mind-bending imagery.

“In production we called it the Magical Mystery Tour,” says cinematographer Ben Davis. “Strange is traveling through all these different places. It starts off in Earth’s outer atmosphere and gets weirder and weirder.”

To shoot the sequence, Davis strapped Cumberbatch by his waist to the end of a robotic arm that could orientate him in any direction. The camera was then put on a motion-control rig, and four 20’ x 20’ movable light fixtures were built that projected images onto the actor. “It was similar to what DP [Emmanuel Lubezki] did in ‘Gravity,’ but we updated it and used a different light source,” Davis says.

It took 10 months for Wood and his team to build the Sanctum Sanctorum, the Doctor’s fortress home, from which he battles evil. “The one thing I know about Charles is that with every detail there will be no effort spared,” says Davis, who used the large-format Arri Alexa 65 camera to capture all the details of Wood’s designs. “The Sanctum was built over multiple sets, and everywhere I pointed my camera I had something good to look at.”

For the final action scene, which takes place in the streets of Hong Kong, an enormous set was built in London.

“That was a very complex set with a very dynamic environment,” says Ceretti. “There are a lot of elements moving backward while the characters push forward. We had to do a lot of simulation work, and we had to be very clear on what could be destroyed and what we could rebuild.”

Davis relied on pre-visualization to block the sequence, with each moment requiring a different camera technique.

“The great thing was that Scott came into everything very prepared,” says the DP of the director. “He had a clear idea of what he wanted in a scene, and what he wanted with the actors. It made supporting his vision that much easier.”

More Artisans

  • John Wick Chapter 3

    'John Wick: Chapter 3' Tones Down the Blood and Gore to Keep Look 'Totally Real'

    When Jeff Campbell, a visual effects supervisor with VFX studio Spin, initially set to work on the first “John Wick,” the 2014 action thriller from director Chad Stahelski and writer Derek Kolstad, he started with an industry-standard test: Establish a single, simple kill effect meant to get a sense of the look of the violence [...]

  • Spider-Man Homecoming

    Film and TV Productions Are Using Drones for Scouting Locations, Lighting and More

    Since a ruling by the Federal Aviation Administration in 2014 that cleared the use of drones in film and TV production, the acquisition of footage by these unmanned flying machines has become de rigueur for aerial shooting in cases when cranes or aircraft are impractical or unsafe.  As such, drones have been greeted enthusiastically not [...]

  • MTV The Challenge

    How 'The Challenge' Relied on Global Crew to Pull Off Plane Game

    Thirty-three seasons into MTV’s “The Challenge,” the reality competition series has spawned a band of traveling producers and engineers who fly around the world to create one-of-a-kind games. This includes placing cameras, smoke elements and a puzzle inside a plane that was suspended more than 30 feet above water. Executive producer Justin Booth joined “The [...]

  • Chaz Ebert DePaul CHA Documentary Filmmaking

    Chicago Program Gives High School Girls Lessons in Documentary Filmmaking

    At the upcoming Cannes Film Festival, three of the projects screening in the Short Film Corner — “Birthday,” “Phenomenally Me” and “Without Dying” — will be products of the DePaul/CHA Documentary Filmmaking Program, a six-week course co-sponsored by the Chicago Housing Authority in which high school girls learn filmmaking from graduate students and faculty of [...]

  • Steven Spielberg55th Annual CAS Awards, Inside,

    Cinema Audio Society Sets 2020 Awards Show Three Weeks Earlier

    The Cinema Audio Society has moved its 2020 awards show ahead by three weeks to Jan. 25 due to the compression of the season. It will be held at the Intercontinental Los Angeles Downtown. The CAS Awards recognize sound mixing in film and television, outstanding products for production and post-production, as well as the recipient [...]

  • Rocketman Elton John Biopic

    'Rocketman' Production Team Took the Fantasy Route With the Elton John Biopic

    Paramount has high hopes for “Rocketman,” the Elton John biopic starring Taron Egerton as the legendary performer. Premiering at the Cannes Film Festival on May 16, the film comes on the heels of Fox’s massively successful Freddie Mercury movie “Bohemian Rhapsody” and could capitalize on audiences’ newly discovered interest in rock star stories that transport [...]

More From Our Brands

Access exclusive content